Tag Archives: Danny Boyle

127 Hours

Posted on November 25, 2010 by The Filmsmith | 1 comment

It might surprise you that Danny Boyle’s latest film 127 Hours has a message suitable for this holiday season–beyond the suggestion to cut off your own arm to escape the ~~death trap~~ family dinner table. Continue reading →

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Tagged 127 Hours, 28 Days Later, Danny Boyle, Drama, Film, James Franco, Millions, Slumdog Millionaire, Sunshine, Trainspotting, True Story

Full trailer for Danny Boyle’s “127 Hours”

Posted on October 9, 2010 by The Filmsmith | Leave a comment

There has already been a teaser trailer for 127 Hours, so this is the first full length trailer. I would like to persuade you though: if you’re a die-hard Boyle fan, just wait to see the film. If you’re genuinely curious about the film, go right ahead. I just feel that trailers give too much and there’s something to be said for going into a movie mostly blind. It’ll feel fresher if you haven’t already seen it on a tiny laptop screen a month ago.

127 Hours Trailer: Danny Boyle’s Latest

Posted on August 25, 2010 by The Filmsmith | 1 comment

The director of Trainspotting, 28 Days Later, Sunshine, and Slumdog Millionaire has a new film coming out in the fall starring James Franco, 127 Hours. It’s based on the experience of Aron Ralston, the guy who had to amputate his own arm after becoming trapped under a boulder in Utah.

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Tagged 28 Days Later, Amputate, Aron Ralston, Danny Boyle, Drama, James Franco, Slumdog Millionaire, Sunshine, Trailer, Trainspotting, Utah

Pontypool Review

Posted on July 6, 2009 by The Filmsmith | Leave a comment

Teaser poster for Pontypool.

Since George A. Romero’s Night of the Living Dead, all of the great zombie films have provided us an undead lens through which a facet of human civilization is focused upon: Night of the Living Dead and Dawn of the Dead tackled race and conspicuous consumption, respectively; Danny Boyle used our fear of disease to look into the heart of man in 28 Days Later, only to find the “Rage Virus” within all of us. Pontypool continues in this vein as the best zombie* film since Boyle’s resurrection of the genre, utilizing the fear of the unknown to look at the power of language. Continue reading →